Meghana Raj Quotes

My choreography is very classically based.

Among my classical dances, I loved my 'Mrig Trishna' dance. People should try that on stage. I don't know why they don't. It's beautifully written.

Dancers, many dancers today can do so much technically. You can give them steps that are complicated, then more complicated, pyrotechnical - and they can execute these steps to perfection. But to do simple steps with a pure classical line, that is truly difficult.

When I was a kid, toe dancing and toe shoes had a meaning in our culture as a serious kind of art.

Ballet is like any other art form in that we all start out knowing nothing about it.

I started dancing when I was 5 years old. Ballet. Flamenco.

I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.

Ballet is a classically based art form, so it comes with a certain set of rules, at least to start with; then it's about how far you want to push from there.

My movement is usually about finding the balance between artistry, athleticism, and musicality. It always originates with a classical basis and expands outwards from that platform.

I started learning Bharatnatyam from the age of three. I have also learnt folk dance.

I am a trained classical dancer.

Tap dancing is something I love, and I've been working on it to get really good.

Beyonce is incredibly talented - gifted, in fact. She has an exceptional set of pipes and can actually sing. She is a terrific dancer - without the explicit moves best left for the privacy of her bedroom.

The real American type can never be a ballet dancer. The legs are too long, the body too supple and the spirit too free for this school of affected grace and toe walking.

I started dancing ballet when I was very young, so my background really is dance. But I remember loving the feeling of being on a stage and having a love for performing from a young age.

I'm the first one out on the dance floor. In college I had to take jazz, ballet and tap dancing, but, before that, it was just social.

So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.

Astaire never thought of what he was doing as balletic, but Kelly was always trying to dance with women on points. And his choreography is so showy and flashy. He always looks self-satisfied to me.

I've always had an innate ability to dance, but I'm not as spiffy as those cinema legends like Gene Kelly and Fred Astaire.

I'm a fantastic dancer!

I approach dancing from a different angle than those who begin dancing at 8 or 9. Those who have studied from the beginning never question anything.

Dance is in the air, pirouettes, very difficult. Mime is on the floor, like Spanish dancing perhaps, and very often in slow motion.

I began to fear that the Graham work was not in lots of ways sufficient for me. I suppose it came about from looking at other dancing and being involved with the ballet - something about the air and the way she thought about dancing.

I was a dancer and performer.

I was a dancer for long time. And you always hear that ballet is the core of dance, and that - once you have that down - you can do everything else. For me, jazz is like that for music.